204 films, 70 directors, 5 decades, Vilma Santos, one of the original Philippine movie queens, rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). This are top ten directors who contributed to her success. – RV (READ MORE)
His films lack the arthouse style and social relevance that critics loves most in a Brocka or Bernal films but who cares about the critics when the paying public loves them. And the producers demand his service, from Doc Perez of Sampaguita Pictures, Atty. Esperidion Laxa of Tagalog Ilang Ilang Productions and later on, Vic Del Rosario of Viva Films and Lily Monteverde of Regal Films. Clearly, his films exists with one purpose, to entertain the masses not to depress or remind them with the country’s sad fate of economy or the below poverty line lives of many. The success of the Vilma-Borlaza films gave Vilma Santos versatility and preparation to a more serious acting career. It also narrowed the popularity gap between her and the musical era’s darling of the 70s, Nora Aunor. These are perhaps, the most significant contributions of Emmanuel Borlaza to Vilma’s career. Vilma who was considered only second to Nora couldn’t matched her singing talent and so, Borlaza countered this lack of singing with films that showcased Vilma’s acting versatility.
From the folklore mermaid in Dyesebel at ang Mahiwagang Kabibe to fighting giants in Darna and the Giants to a fast-talker-gossip-mongering vendor in Tsismosang Tindera and to good-hearted prostitutes in Mga Rosas sa Putikan, Borlaza let Vilma Santos experience a wide range of roles, from comedic fantasy to dramatic adult roles. These experiments prepared her to a later more serious and versatile acting career. Their success made other directors interested in giving her roles oftenly considered for her closest rivals. Projects lined up and awaits her availability. Borlaza and Santos’ collaboration produced a string of box office hits from early 70s’ Dama De Noche to their last outing in late 80s’ Ibigay Mo Sa Akin Ang Bukas. Their success established their career as one of the most bankable and in-demand director/actor team, making her the longest reighning box office queen of all time and him a money maker director.
When time for Vilma to moved on with other collaborators, Borlaza handled other stars with much success! He directed Alma Moreno in smash hit, Eva Fonda 16; Sharon Cuneta in her memorable rag to riches films, Bituin Walang Ningning and Bukas Luluhod Ang Mga Tala; Snooky Serna in her fantasy hit, Blusang Itim and Marecel Soriano as the spoiled brat in Yesterday Today and Tomorrow. These films gave us some of the most memorable movie lines that most Filipinos would still remember like Cherie Gil’s campy dialouge: “You’re Nothing but second rate Trying hard, Copy Cat!” or Sharon’s promise of revenge: “pinapangako ko inay…bukas luluhod ang mga tala! (I’ll promise you mother, tommorow the stars will kneel down, something to that effect, litterally.)” – RV (READ MORE)
Emmanuel H. Borlaza aka Maning Borlaza is a 1957 Palanca Awardee for “May Pangako ang Bukas” and theaterical drama trained by National Artist Severino Montano. Appointed by Pres. Noy Aquino as Movie and Television Review and Classifications Board (MTRCB) Vice Chairman this year, Borlaza directed 24 films with Vilma Santos and was credited with her transformation to a reluctant singing competitor of Nora Aunor to bankable superstar with such hits like Dyesebel, Lipad Darna Lipad, Darna and the Giants. – IMDB (READ MORE)
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